Below is an example of a proto typical progression The ii–V–I progression ("two-five-one progression") (occasionally referred to as ii–V–I turnaround, and ii–V–I) is a common cadential chord progression used in a wide variety of music genres, including jazz harmony. Blues influenced many derivative styles, but many stay true to the 12-bar form. There are a number of similarities between the minor blues progression and the major blues progression: There are also a few differences, which I’ll talk about below. These chords allow for a smooth transition between the I chord (Cm7) and the IV chord (Fm7), by temporarily cadencing in that key. It consists of four bars of the I chord (in this case A7 Most of these variations are slight deviations from two common forms of the progression, both of which I’ll cover in this lesson. 7. The first example lays out the chords to what is considered the most common minor blues progression. The Billboard charts also … Most of a song’s overall mood comes from whether it has a major or minor chordprogression. Here's a nice minor blues progression that every player should know. The blues scale can be used to solo over both progressions. Regardless of the approach or style that is being used, the blues scale would feature heavily in any guitarist’s scale choice, and it can sound great even if it’s the only scale used. Download original Power tab. Minor Blues Progressions (i-iv-i-v-i) The 12-bar minor blues progression is similar to a 12-bar traditional blues progression except that the minor tonality is used in place of the major. The i, iv, and v chords will all be minor 7th chords, and are therefore indicated by lower case roman numerals. In short: you can play an A min blues scale over the entire song if you want, but it certainly isn't wrong to stray from A min when playing over the minor blues. I’ll start by going over the form that is the most similar to the major blues progression. All eight chords move by a fourth to the next chord before the Gb7 chord resolves down by a half-step to the Fm7 chord. Before you dive into the chord study as a whole, here are a few important concepts that are used in the study. It will also feature the VI chord, and the 12 bar progression will be slightly different than form 1. THE JAZZ GUITAR CHORD DICTIONARY (FREE eBOOK). These chords are built using three-note shapes (triads), but are used in a non-traditional sense to “jazz” them up a bit. Also, how can this tritone substitution work for both major and minor/half diminished chords? The second major mode that you’ll learn over the minor blues progression is the Locrian mode, which is used to solo over the iim7b5 chord in these changes. Here are links to the previous parts: In part four, I’ll talk about the second most common chord progression in the blues: the minor blues progression. The chord progression of the minor Blues is similar to the one of the dominant Blues we have already seen, but with one important difference: now we are in a minor key, so all these chords are minor. Below is an example of a proto typical progression Obviously it’s often found in blues songs, but you’ll see it at least occasionally in rock, funk, soul, and jazz as well. Roman numerals indicate the quality of the chord These progressions will start off rather simply, with what is referred to as the basic minor blues, and will consequently get more and more complex until reaching a point of chordal saturation. Hi Matt, this is a very interesting elaboration of minor blues. So, instead of Dm7b5, you can play D7, the V of G7 (V/V or II7). After you have checked out the examples above, and learned about how to build a Minor Blues Progression, you can test you theory chops by writing out the minor blues chords in A, E, D, G and B. The two added chords in bar four (Gm7b5-C7) are a ii-V7 progression in the key of F minor. In bar four the C7alt is subbed by a Gb7 chord, which resolves down by half-step to the Fm7 chord in bar five. However, sometimes a dominant 7th 5 chord is used to create more tension before the … There are a number of similarities between the minor blues progression and the major blues progression: They both are 12 bars long. The Ab7 chord resolves smoothly down by a half-step to the G7alt chord that follows it each time it is played. We will start by adding tritone substitutions into the tonic turnarounds in bars 1-3 and 11-12. Both feature the I, IV and V chords (although the numerals are lower case in the minor blues progression). PC.” and “Equinox,” “Stolen Moments” by Oliver Nelson and “Footprints” by Wayne Shorter, as well as, for those old enough to remember, the original “Spiderman Theme Song” from the late-Sixties animated TV series … A very convincing blues can be created with the blues progression chords of E, E7, A, A7 and B7. Blues if often played with a 12 bar structure, a so-called 12 Bar Blues. So far we've been talking about the basic blues progression which is the Major Blues, but there's also Minor Blues. These are the changes that one would play if a minor blues were called at a jam session, or if they were playing with a band for the first time. To wrap things up, I thought I’d list out some songs that use the minor blues progression. We will now apply the tritone substitution concept to the turnaround in bars 4-5 and 7-9: The use of the tritone subs can sometimes become monotonous because of the continuous half-step movement occurring during each cadence. There are exceptions, of course. A favorite progression of mine, and many jazz musicians, to solo over is what’s known as the minor jazz-blues progression, featured on such jazz classics as John Coltrane’s “Mr. So without stepping outside of the main chords In this jazz guitar lesson, you will learn the most common chord progressions used when playing a minor blues. Hi Nick, a minor or half-diminished chord can usually be turned into a dominant chord, especially in a blues. Welcome to this course on the minor blues progression. Both feature the I, IV and V chords (although the numerals are lower case in the minor blues progression). The I chord will always be minor but the IV and V chords may be dominant 7th chords. Instead of playing the Dm7b5 chord each time the II chord comes around, we will play its tritone substitution (Ab7) instead. Have fun with this chord study, and make sure to take these shapes, rhythms, and phrases into your other comping ideas of minor blues, and other minor jazz tunes. In this lesson, we are going to look at the 12-bar blues, which is a popular chord progression used in countless songs. An advanced guitarist taking more of a jazz approach to soloing over this progression might use a handful of modal scales, as well as some usage of the harmonic or melodic minor scale. So to form a 7th chord, you need to include the following notes in your chord: Root + 3rd + 5th + Minor 7th This lesson will teach how to play easy 12 bar blues progressions with open chords. Mr. PC by John Coltrane (form 2 in C minor), Equinox by John Coltrane (form 2 in C# minor), Birk’s Works by Dizzy Gillespie (form 2 in F minor), Stolen Moments by Oliver Nelson (form 2 in C minor during the solos), Long Train Running by The Doobie Brothers (form 2 in G minor), Shine On You Crazy Diamond by Pink Floyd (form 2 in G minor only during the keyboard, sax and guitar solos), The Thrill is Gone by B.B. 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